Triangle - Netflix

Editor

Three brothers lose their parents and grow up separately without knowing
the whereabouts of each other for more than 20 years. Because they have
taken on new names and are all grown up, they are unable to recognize
each other later on. Jang Dong Soo the oldest brother become a
detective, while Dong Chul the middle brother uses an alias name Heo
Young Dal to become the boss of a crime gang. The youngest, Dong Woo,
grows into a cold person after being adopted by a rich family. The three
brothers fates become intertwined as they become bitter adversaries.

Type: Scripted

Languages: Korean

Status: Ended

Runtime: 66 minutes

Premier: 2014-05-05

Triangle - Karpman drama triangle - Netflix

The drama triangle is a social model of human interaction – the triangle
maps a type of destructive interaction that can occur between people in
conflict. The drama triangle model is a tool used in psychotherapy,
specifically transactional analysis.

Triangle - Theory - Netflix

Karpman used triangles to map conflicted or drama-intense relationship
transactions. The Karpman Drama Triangle models the connection between
personal responsibility and power in conflicts, and the destructive and
shifting roles people play. He defined three roles in the conflict;
Persecutor, Rescuer (the one up positions) and Victim (one down
position). Karpman placed these three roles on an inverted triangle and
referred to them as being the three aspects, or faces of drama. Karpman,
who had interests in acting and was a member of the Screen Actors Guild,
chose the term “drama triangle” rather than the term “conflict triangle”
as the Victim in his model is not intended to represent an actual
victim, but rather someone feeling or acting like a victim. The Victim:
The Victim's stance is “Poor me!” The Victim feels victimized,
oppressed, helpless, hopeless, powerless, ashamed, and seems unable to
make decisions, solve problems, take pleasure in life, or achieve
insight. The Victim, if not being persecuted, will seek out a Persecutor
and also a Rescuer who will save the day but also perpetuate the
Victim's negative feelings. The Rescuer: The rescuer's line is “Let me
help you.” A classic enabler, the Rescuer feels guilty if he/she doesn't
go to the rescue. Yet his/her rescuing has negative effects: It keeps
the Victim dependent and gives the Victim permission to fail. The
rewards derived from this rescue role are that the focus is taken off of
the rescuer. When he/she focuses their energy on someone else, it
enables them to ignore their own anxiety and issues. This rescue role is
also very pivotal because their actual primary interest is really an
avoidance of their own problems disguised as concern for the victim’s
needs. The Persecutor: (a.k.a. Villain) The Persecutor insists, “It's
all your fault.” The Persecutor is controlling, blaming, critical,
oppressive, angry, authoritative, rigid, and superior. Initially, a
drama triangle arises when a person takes on the role of a victim or
persecutor. This person then feels the need to enlist other players into
the conflict. As often happens, a rescuer is encouraged to enter the
situation. These enlisted players take on roles of their own that are
not static, and therefore various scenarios can occur. For example, the
victim might turn on the rescuer, the rescuer then switches to
persecuting. The motivations for each participant and the reason the
situation endures is that each gets their unspoken (and frequently
unconscious) psychological wishes/needs met in a manner they feel
justified, without having to acknowledge the broader dysfunction or harm
done in the situation as a whole. As such, each participant is acting
upon their own selfish needs, rather than acting in a genuinely
responsible or altruistic manner. Thus any character from all of three
in this triangle might “ordinarily come on like a plaintive victim; it
is now clear that the one can switch into the role of Persecutor
providing it is 'accidental' and the one apologizes for it”. The
motivations of the rescuer are the least obvious. In the terms of the
drama triangle, the rescuer is someone who has a mixed or covert motive
and is actually benefiting egoically in some way from being “the one who
rescues”. The rescuer has a surface motive of resolving the problem and
appears to make great efforts to solve it, but also has a hidden motive
to not succeed, or to succeed in a way that they benefit. For example,
they may get a self-esteem boost or receive respected rescue status, or
derive enjoyment by having someone depend on them and trust them – and
act in a way that ostensibly seems to be trying to help, but at a deeper
level plays upon the victim in order to continue getting a payoff.. In
some cases, the relationship between the victim and the rescuer can be
one of codependency. The rescuer keeps the victim dependent on them by
encouraging their victimhood. The victim gets their needs met by having
the rescuer take care of them. In general, participants tend to have a
primary or habitual role (victim, rescuer, persecutor) when they enter
into drama triangles. Participants first learn their habitual role in
their family of origin. Even though participants each have a role with
which they most identify, once on the triangle, participants rotate
through all the positions, going completely around the triangle. Each
triangle has a payoff for those playing it. The antithesis of a drama
triangle lies in discovering how to deprive the actors of their payoff.